Vol. 8, No. 1

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Vince Welnick: http://www.vincewelnick.com ~~~ Alphonso Johnson: http://www.embamba.com ~~~
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PERMIT NO. 145
process of reinvention, and they would be
right. “I’m always trying to open that window,” he says. “I’m not interested in
‘noodling’. I’m interested in new compositional moments. I love to play with Alphonso,
because very often, we’ll hook up on the bottom to create a new chord sequence, or just
an ostinato, for people to play over that’s a
concrete, specific, clear musical idea rather
than just stuff. And that’s what I’m about
— more musical content. In an improvisatory
context, mind you — every time, I want it
to be different. So I keep suggesting or implying new directions we can take the songs.”
One example of this would be the startling
minor-key, bluesy version of “Tennessee Jed”
that Bruce sprung on the band one night
in the thick of the jam in “Let it Grow.” “ I
just decided to go there, because it sounded like this might really be something — a
very interesting new take on it,” he explains.
“Certain songs that are very basic and traditional and almost folk-like can be done
any way, and they still work. That’s a sign
continues on page 4
OUR MOT TO:
“When in Doubt,
Twirl!”
TED SHAWN,
DANCER/CHOREOGRAPHER
(1891-1972)
Mark Photo: Susana Millman
Photo: Susana Millman
P.O. BOx X
P RESORTED STANDARD
Vaughan and Woody Herman to his tenure
with the pioneering electric jazz band
Weather Report) and his familiarity with
the world of the Grateful Dead (having
played with Bobby and the Midnites and
Jazz is Dead), was very much at home in his
new surroundings. Explaining his approach,
Alphonso said: “Even though the styles may
differ, it’s still about just playing music. It’s
about being at the right place at the right
time, and trying to honor someone’s composition. Whether it’s a so-called jazz tune
or a cowboy tune or a bluegrass tune, doesn’t matter if it’s a good song. My function
as a bass player is to interpret the song as
close to what the composer intended, and
at the same time take liberties and embellish and add something to make it slightly
more interesting than the way it was played
the last time.” Both Billy and Mickey were
effusive in their praise of their new partner
in the rhythm section. As Hart put it: “Playing
with Alphonso is really terrific. He’s a great
player for any drummer to play with. He
makes it easy. He’s a virtuoso player, and
he lays down the groove real hard. And we’re
really happy in the groove. That’s the most
important thing.”
Also vital to the success of The Other
Ones, v.2, were returning guitarists Mark
Karan and Steve Kimock. They were given
the rather daunting
task of joining the
1998 lineup mere days
before the band’s
public debut, but this
time around the two
had a lot more time
to get to know one
another and their fellow players better.
Kimock feels the difference in a big way:
“The first time I did it was the first time I did
it! It was such a giant big thing, and there
was so much pressure. I was thrown in at
the very last minute, and there was no way
for me to be even the
tiniest bit prepared.
What’s most different
for me this time is that
it’s a lot more fun. So
much more relaxed,
and there’s this sweet
energy all around.”
Karan believes that the
musicians finding
more of a comfort zone
has been integral to a
better-orchestrated, less cluttered sound,
especially among the guitarists: “Our relationship has cemented some, and this time
around, we’ve had time to map out the territory that each of us feels is our strength. I
think what we’ve created is a very nice symbiotic relationship.”
As the band’s
sound cohered,
The Other Ones
began to build
their repertoire.
From the start,
there was a unanimous determination to make this
tour anything but
an exercise in
nostalgia. To keep
themselves (and the audience) fully engaged
at all times, the players determined to mix
things up as much as possible. This meant
teaching the old songs new tricks — altering them from their original versions and
playing them in different settings and styles
from night to night. Bob Weir was particularly stimulated by this approach, telling the
Almanac, “We’ve had occasion to play a song
the way we used to play it. And then the
next time we come around to that song, have
it be substantially different. And that’s cool.
I’m liking that a lot.” A tune that got a jazzy
reading from the full band at one show, for
example, might turn up sounding folkish
when played by a smaller acoustic subgrouping at another.
Anyone who has observed Bruce
Hornsby’s work with his own band would
probably guess that Bruce had a hand in this
Steve Photo: Susana Millman
A l m a n a c
®
with his vast and diverse musical experience (from gigs with greats like Sarah
Photo: Susana Millman
Grateful Dead
happiest man in the
world to be there.
It probably couldn’t
have happened a year or
even six months earlier.
When Jerry Garcia died
and the Grateful Dead
called it a day in 1995,
Billy was ready to get off
the rock ‘n’ roll treadmill
for a good long time —
maybe forever. He headed to Hawaii to swim and
surf and heal. After 30
years on the road, retirement to a tropical par“Let there be songs to fill the air…”
adise seemed like an
(FROM “RIPPLE” BY JERRY GARCIA AND ROBERT HUNTER)
eminently sensible thing
When Robert Hunter penned that lyric to do, and exactly the thing Bill needed. “It
some 30 years ago, he had no way of know- was truly the right thing to do,” he said, when
ing just how thoroughly the very songs he the Almanac caught up with The Other Ones
created with his compatriots in the Grateful at mid-tour. “To not be in the Grateful Dead,
Dead would saturate the cultural atmos- and just find out who Bill is again.” But even
phere in the year 2000. Remarkably, five years paradise has its limits, Billy found. After a
after the Dead’s career as a performing unit few years, the urge to create music began to
came to an end, the band’s music is being simmer inside him: “ When you’re a profesheard in more places, performed by more sional musician and you’ve done it, and you’ve
artists, in a greater variety of genres, than gotten to play with great players all your life,
ever before. Jazz, bluegrass, country, reggae, to not play is, after a while, some kind of
punk, surf music — name a style, and death, some kind of soul death. And you
chances are someone has covered a Dead can only surf so much, and fish so much, and
tune that way, or will soon.
then you’ve gotta play some music.”
If there’s a theme to this edition of the
Kreutzmann had jammed with his old
Almanac (and we love a good theme around friends on a couple of occasions: at the final
here), that’s it… the amazing ubiquity and show of the 1998 Furthur tour, and at The
durability of Grateful Dead music, and the
seemingly limitless ability of that music to
be reinterpreted, refreshed and reinvented.
On the pages that follow, you will learn more
about some of the ways in which the Dead’s
music is finding new expression in new
hands.
Better still is the way that the music
is finding new expression in old familiar
hands — those of the guys who invented
it. The surviving members of the Grateful
Dead spent the first summer of the 21st Warfield in San Francisco last New Year’s
Century doing, in a slightly different form Eve. But he had no specific plans to underbut the same spirit, what they had done for take a full-on tour. It all came together
a substantial piece of the late 20th: seeking because Billy just happened to be at Grateful
and finding new adventures in collective Dead headquarters one day last spring. As
improvisation; Rekindling old relationships he recalls it: “ I was back for a board meetand forging new ones; And just generally ing. On the second day of it, I just happened
making things up as they went along, to the to walk through the studio. And if I hadn’t
delight of a like-minded audience.
walked through the studio, I still might not
The big story of the summer was the know about it. It was spontaneous. I just
return of The Furthur Festival, headlined wanted to do it. And I was missing someby a revamped version of The Other Ones. thing really a lot. I was missing music, and
When the tour was first announced, we playing with these guys… They’re like other
knew that Mickey Hart , Bob Weir , Bruce parts of your body, they’re like other limbs.
Hornsby, Mark Karan and Steve Kimock, all Playing music was always the way I related
charter members of the band’s 1998 lineup, to these guys the most deeply, and it was
would be back on board, and that they would missed. Linda Wiley, my fiancé, knew that
be joined by electric bass virtuoso Alphonso I was really missing something, and she realJohnson. As the last Almanac went to press, ly helped me, and encouraged me to play.”
there was a drummer yet to be chosen, and
The music was missing Billy as well. And
auditions to be held. Several excellent play- so was his fellow Rhythm Devil, Mickey Hart.
ers, any of whom would have been a worthy As soon as they started playing together, it
choice, were slated to try out for the gig. But was as though not a moment had passed, says
at pretty much the last possible moment, in Mickey: “ In this particular case, time made
one of those exquisite accidents of perfect it better. It always was a great fit, but now I
timing, an unexpected candidate turned up can appreciate it even more, having missed it
at the rehearsal space, and asked if he could for so long. Billy’s in such a great place. And
take a shot at the available position. Once I’m in a better place. It’s almost fortunate that
he sat down and started to play, there was it went down the way it did. Nobody could
little doubt as to whose gig it was. And that write it better than this. I had a feeling in
is how Bill Kreutzmann, after five years away my heart of hearts that he would come back
from the road, came to be back where he sooner or later, as soon as he healed, and got
belonged — at the drum kit, playing with over his grief. And that’s really what all this
his old and dear friends and looking like the is about. Different people grieve in different
ways. He had to deal with the muse in him,
and come to peace with his heart. It takes a
while. It took five years. Billy is just a joy to
be around. We’re havin’ a blast. That was a
great gift. It’s great to have him back.”
With that old musical relationship
rededicated, The Other Ones turned to the
work of making the new relationships in the
group work just as well. Alphonso Johnson
was a crucial part of the process. Alphonso,
A L M A N A C 8.1
Alphonso Photo: Susana Millman
Photo: Susana Millman
I’ll Meet YOu at the Jubilee
GRATEFUL DEADŁ
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COMMUNITY PAGE
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JOhn Trudell * Blue Indians
John Trudell is a remarkable artist and
a remarkable man — a poet, a powerful
speaker/performer and an indefatigable
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During his journey he has encountered
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family. As a way of dealing with and
expressing his overwhelming grief,
Trudell turned to poetry, which he soon
fused with music on such praised albums
as AKA Graffiti Man, …But This Isn’t El
Salvador and Fables and Realities.
Trudell is the complex sum of all that
he’s seen, endured and accomplished in
his 53 years. Much of that life experience
is reflected in Trudell’s newest release,
Blue Indians. The album, as explained by
Trudell, “is literally about the technical
world as an industrial reservation. This
time everyone plays the part of the Indian
with their range of feelings and attitudes.”
Produces by Trudell’s longtime friend and
fan Jackson Browne, Blue Indians is a powerful and moving expression of John
Trudell’s passion, vision and artistry.
We are proud to make the work of this
singular artist available to a wider audience, and pleased to announce that a portion of the proceeds from the sales of Blue
Indians benefits Seva Foundation’s Native
American Funding Program, an effort to
recognize and support the renewal and
self-determination of Native communities.
For more information, contact:
The Seva Foundation
1788 Fifth Street
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510.845.7382
www.seva.org
For more information on John Trudell,
www.johntrudell.com
JOhn Trudell Blue Indians
#4225 $15.00
Blue Indians c Bad Dog c All Nite Café c Toy c
Devil and Me c Johnny and Joe c Angel of Sin c
Terminal Neon c Dizzy Duck c Grassfire c Only One
for Me c You Were
BEST Of the GRATEFUL DEAD HOUR
a very special cd to benefit public and community radio.
2
GD Hour on a non-commercial
station, call them up and ask
them to feature The Best of the
Grateful Dead Hour as a pledge
premium during their next
fund-raising drive. If your local
public station doesn’t air the
show, ask ’em why not! Of
course, with more and more radio stations
streaming their broadcast signal on the
World Wide Web, chances are you can
listen to the program no matter where
you are. If you want this CD badly enough
(and trust us, you will!), you can always
adopt a station in some far-off corner of
the globe, pledge your support, and enjoy
some prime Grateful Dead music that you
won’t find anywhere else.
For more info about the Grateful Dead
Hour, including a complete list of stations
that carry the program:
‘oh, the world is terrible, the streets
are dirty, there are too many drugs,
the wars…’ What else do you do? Do
you kvetch? What else do you do? If
you have the ability to do something,
then do it. If not, shut up.”
BILL GRAHAM, 1986
bill graha m fOundatiOn
education, environmental protection,
human rights, inner city social work,
public health, and more.
Here are just a few of the recipients of
Bill Graham Foundation grants:
The pioneering rock impresario Bill
Graham (1931-1991) liked to say that he
was “in the business of turning people
on.” And he did just that for more than a
quarter-century — turning millions on,
not just to the music of countless great
artists, but also to great ideas, great
issues, great causes. Bill never hesitated to
put his time, his vision and his boundless
energy to work in the service of people
and organizations in need. As an immigrant foster child who reached success
beyond his wildest expectations, Bill had
a strong desire to give something back to
the community that had given him so
much, and a fierce determination to stand
up for “the little guy.” Indeed, the very
first musical event he ever produced, in
November of 1965, was a benefit (to help
defend members of the San Francisco
Mime Troupe arrested for performing
without a permit). For more than 25 years
thereafter, Bill staged more benefits than
any other producer in rock history, from
small fundraisers for local grass roots
groups to enormously ambitious international events such as Live Aid and the
Amnesty International “Human Rights
Now!” tour.
In order to continue the tradition of
doing great work behind the scenes, the
Bill Graham Foundation was formed in
November, 1991, shortly after Bill’s death
in a helicopter crash. It is a non-endowed
public charity that is funded primarily
through individual contributions.
The Foundation is guided by an advisory board consisting of Bill’s sons, several
longtime employees of his company, Bill
Graham Presents, and a rotating group of
current employees, elected by the entire
company staff.
The Bill Graham Foundation’s goal is
to continue Bill’s work in assisting those
whose needs sometimes are not noticed or
served by larger philanthropic organizations. These include groups and individuals working in the areas of music, arts,
Adopt-an-Instrument Program
Alameda County Food Bank
Blue Bear School of American Music
Bread & Roses
Camp Winnarainbow Scholarship Fund
Chabad House/
Bill Graham Menorah Project
Freight & Salvage Coffeehouse
Fresh Start Farms
Glide Youth and Child Care Center
Green City Project
Haight Ashbury Free Medical Clinic
Holocaust Oral History Project
Latina Theatre Lab
Marin AIDS Project
Mission Cultural Center
Music In Schools Today
The New Old Time Chatauqua
San Francisco Food Bank
San Francisco Mime Troupe
Save The Oakland Music Project
Tito Puente Scholarship Fund
Trees Foundation
Youth In Arts
For more information, contact:
The Bill Graham Foundation
P.O. Box 429094
San Francisco, CA 94142
415.371.5500
We at the Almanac are happy to support
these efforts by offering the official Bill Graham
Foundation T-shirt. All proceeds from the sale of
this shirt will benefit the Foundation, and help to
carry on Bill’s great work.
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http://www.gdhour.com
The Best Of the Grateful Dead HOur
1
Alligator-> Caution-> Feedback -> I Bid You
Good Night” (53:44) 12/12/69 Thelma Theater, Los
Angeles. Recorded by Owsley Stanley
2 Passenger” (3:21) 5/19/77 Fox Theater, Atlanta.
Recorded by Betty Cantor-Jackson
3
Terrapin-> Playing in the Band-> Terrapin (2:54)
9/26/90 rehearsal at Club Front, San Rafael CA.
Recorded by John Cutler
4 Greatest Pump Song Ever Wrote (7:53)
Documentary produced by David Gans
▲
Bill Shirt Front
Bill Shirt Back
▲
If there’s one thing we
know for sure about most of
you Deadheads out there, it’s
that you just love any opportunity to get your mitts on those
impossible-to-find, neverbefore-available gems from the
Grateful Dead Vault. And if
there’s another thing
we know, it’s that you are a kind
and generous bunch, always willing
to contribute to a worthy cause.
And if you can do both of the above at
the same time, well, so much the better!
Which brings us to The Best of the
Grateful Dead Hour. This is a terrific CD
compilation, featuring peak moments from
the only nationally-syndicated radio program that explores the musical world of
the Grateful Dead every week, with
host/producer David Gans presenting the
best and the rarest from the Dead’s vast
tape archive.
Right now, you can’t buy The Best of the
Grateful Dead Hour, Volume One at any store
or website. You can’t even buy it from us
here in the Almanac. In fact, you can’t buy
it, period. So how can you get a hold of
this thing? It’s easy — you can only get it
free as a thank-you gift for subscribing to
your local, Public or Community radio
station that carries the Grateful Dead Hour
(some commercial outlets also broadcast
the show, but please note that this offer
will only be available through listenersupported stations). If you listen to the
“I get sick and tired of people saying,
3
Photo: Robert Minkin
tradition: Ziggy Marley and his band, The
Melody Makers, who accompanied The Other
Ones on the transcontinental trek. Ziggy
and Co. (including three of Bob Marley’s
other children, Stephen, Sharon and Cedella)
never failed to deliver terrific music and positive vibrations, and left the audience feeling irie night after night. They also joined
The Other Ones onstage at some of the shows
for delightful collaborative versions of some
of Bob Marley’s greatest songs. At selected
stops on the tour, other special guests shared
The Other Ones’ stage, including Steve
Winwood, Bonnie Raitt, Jorma Kaukonen and
yes, Hanson (!)
As the tour reached its end, all involved
were talking as though it was just the beginning. Everyone wants to do some more of
this, the sooner the better. “I want to play
music at this level on a regular basis again,”
says the boundlessly enthusiastic Mr.
Kreutzmann. “ I would like to have this band,
if everyone is into it, do some runs in the-
4
sic
“Mu
FILLMORE EAST • NEW YORK, NY • APRIL 25-29, 1971
There are many different words to identify the buildings in which we get our
live music fixes: “bar,” “café,” “nightclub,”
“dance hall,” “hockey rink,” “shed,” “local
armory,” and many more (including less
flattering handles such as “dive,” “dump,”
“hellhole,” etc.). But in the near-half-century history of rock ‘n’ roll, only a tiny
handful of venues have earned a different
Photo: Amalie Rothschild
Dead crew member Steve Parish (along with
Tom Paddock and his team of technical wizards), Roadie Radio is a place where
Deadheads and other interested parties can
get a behind-the-scenes glimpse at the rock
‘n’ roll world. It made its debut at a Musicians
for Medical Marijuana Benefit in San
Francisco in August, and a higher-profile
appearance at the Furthur Festival stop at
Shoreline Amphitheatre later that month (at
the latter event, the goings on were broadcast to the parking lot as well as streamed
over the web). Big Steve was inspired to start
this project because “We need communication in the Deadhead scene more than ever.
I want people to give us feedback, and talk
and ask questions. We can keep moving
along that way. Everybody who has followed
a band has road experience. We’re all roadies. We want to tell stories of the road. Tell
some stories about the tours. Just give people insight into how the music was created. Because it was a really unique process,
how the Grateful Dead did it, and how their
crew was treated. We were really treated
good. And this is a way of paying back some
of that goodness, by just spreading it around
to anyone who’s interested in it. You’re one
click away from a laminate backstage. You’re
going to be talking to the guys and joking
with ‘em in a way that only we do. People
can ask specific questions about the gear,
and we’ll try to answer them. We can share
the kinds of jokes we used to share, and then
we can get our handkerchiefs out and have
a good cry about some of our dear departed friends. We want to run the gamut of
all the emotions. I love people. And the greatest people I know are the fans of this band,
and the people associated with it and working with it. “
To check out previous Roadie Radio
events, and to stay informed of future ones,
visit www.roadieradio.com
Down the road: Bruce Hornsby’s longawaited live album, a two-CD set called Here
Photo: Amalie Rothschild
tion — to keep the lines of communication
open with someone who’s hopefully going to
be running the most powerful country in the
world. I’ll try to add my two cents when it’s
appropriate. As (alternative journalist) Scoop
Nisker likes to say, ‘If you don’t like the news
go out and make some of your own.’ If all
the Deadheads who are of that mind got out
and voted it would make a difference. If you
want to make a difference and you want to
have some say, I will take the message to him.
But first you have to vote him into office.
You’ve gotta put that ballot in the box.”
While we’re on the subject of members
of the Hart family working to make a difference, congratulations to Caryl Hart ,
Mickey’s wife, who was appointed by
California Governor Gray Davis to the state’s
Parks Commission, in recognition of her
work as an advocate of preserving open land
for public use.
If you find yourself at San Francisco
International Airport in the near future, check
out the spectacular array of musical instruments — especially drums — from Mickey
Hart’s vast personal collection, on display
at the United Airlines terminal and other
locations through December. There could
not be a more fitting location for this exhibit, which features instruments from all over
the world, than this busy hub of international travel. “It’s a World thing. It’s appropriate,” says Mickey, who always liked to
say that the Grateful Dead were “in the transportation business.”
Is the world ready for Roadie Radio?
The online brainchild of longtime Grateful
L A D I E S A N D G E N T L E M E N . . .T H E G R AT E F U L D E A D
Come The Noisemakers, is slated for release in
late October; Bruce can also be heard on two
excellent compilation albums: Long As You
Know You’re Living Yours, featuring the music
of jazz pianist/composer Keith Jarrett, and
Big Mon, a tribute to Bluegrass pioneer Bill
Monroe; Also in October, RatDog hits the
road in support of its new album Evening
Moods (for more about the album, see page
6); Also keep an eye out for Steve Kimock,
Jemimah Puddleduck and other members of
the extended family who may be coming to
your town soon. You can keep tabs on all
upcoming activities by checking the websites listed on the back page.
When we meet again, it will be 2001. Get
out that old copy of Also Sprach Zarathustra
and crank it up! Oh, and please open the pod
bay doors, HAL…
e
nois s a rec
s
s
e
e
l
ning it touch
a
e
m
l
is a
unti
gm
eivin
ind.”
Paul Hindemith,
Composer (1895-1963)
Photo: Robert Minkin
Phil Photo: Robert Minkin
Photo: Susana Millman
of a really strong words-and-music entity,
that it can be so malleable. I’ve always felt
that some of Garcia’s songs could have been
written 100 years ago, and that’s something
I really admire about them.”
From the instant The Other Ones
kicked off the tour in San Diego (starting,
appropriately, with the quintessential
Grateful Dead improvisational vehicle “Dark
Star”), moments of musical serendipity
abounded: a kalimba solo by Mickey turned
into a duet with Kimock, then a trio with
Weir, then a quartet, and so on, until the
whole band fell into the groove and segued
into a powerful version of “Estimated
Prophet”; a jam in the midst of “Bird Song”
contained elements of Sonny Rollins’ “St.
Thomas,” Miles Davis’ “So What” and the
old chestnut “Shortnin’ Bread”; Hornsby’s
“The Way It Is” was rearranged in the style
of “Franklin’s Tower,” and then morphed
into the latter song; the aforementioned
“Dark Star” had a bluegrass fiddle tune
tucked into its middle; and so on.
The musicians were clearly having a
ball with all this. And no one was having a
better time than that reborn Rhythm Devil,
Billy Kreutzmann, whose monumental duets
with Mickey were among the highlights of
every show. “It’s a new band. It’s a new life,”
Billy enthused. “ I look forward to coming
and playing every night.” Alphonso Johnson
also had a sense of something special happening, and credited the audience: “ There
have been some really bright moments on
stage, where you can see everyone’s eyes light
up, both in the band and in the audience.
(The fans) really do appreciate the honesty
when you just go and lay it out there. They
really are listening. I’ve always known that
with Dead fans. You can sense that when
there’s interplay, they really do get it. It’s
like having a big jazz audience out there. I’m
really enjoying it.”
Something else to look forward to at
all the shows were the wonderful opening
sets by another inheritor of a great musical
EVER SINCE THEY TORE THE JUKEBOX DOWN…
Photo: Susana Millman
aters, and really get some
music down, so it’s
continued from page 1
about intimacy and not
the bigness of things. I
would love to hear from
the fans, if they have any
input, if they would like
that” (I think we can all
predict the answer to
that one!). Billy was also
unstinting in his praise
and gratitude toward
Deadheads: “I’ve gotta
thank the fans, that’s the
main thing I’ve got to do,
is thank all the fans. I’m
really grateful that they’d come back out
after five years. There’s so much entertainment out there to draw people away, that
it’s really mandatory to play good. You can’t
take it lightly.”
If you’d like to revisit some of Furthur’s
memorable moments, check out www.furtheron.com, where you’ll find photos, sounds,
setlists and much more, including Mickey
Hart’s insightful and entertaining tour journal, “Road Words.”
Phil Lesh was also a busy man this
summer and fall, to put it mildly. After he
finished a big summer tour (co-billed with
Bob Dylan and his band), with a stellar group
of Friends including jazz/blues guitar great
Robben Ford , Little Feat members Paul
Barrere and Billy Payne and the ever-present John Molo, Phil barely let the dust settle before he started preparing
for a fall go-round in small
venues, with the sensational
lineup of Molo, Warren
Haynes , Jimmy Herring and
former Zen Trickster Rob
Barraco.
Before embarking on their
autumnal sojourn. Phil &
Friends made a memorable
appearance on September 21
at New York’s Roseland
Ballroom, at a very special
event — one that was occasioned by the loss
of yet another great musician and friend,
Allen Woody, longtime bassist for the Allman
Brothers Band and Gov’t Mule, who passed
away in August. “One For Woody,” a benefit held to establish a trust fund for Allen’s
wife and child, featured spectacular sets
by Phil & Friends, the Allman Brothers Band,
the Black Crowes, blues great Little Milton
and many others. As it so often has in the
past, music was a healing force, bringing joy
in the face of sorrow. There could not have
been a more fitting or moving memorial to
a great musical spirit.
Just before the Furthur tour began,
Mickey Hart had one of the more unusual
experiences in a musical life that has seen
more than its share of the unusual: leading
the assembled throng at the Democratic
National Convention in a kind of “drum-in,”
(to the tune of “Turn The Beat Around”),
along with Tipper Gore, shortly before her
husband Al took the podium to accept the
nomination of his party for the Presidency
of these United States. Such well-known
percussionists as Poncho Sanchez and Terri
Lyne Carrington joined Mickey and Mrs.
Gore, and thousands of drums reading
“Tipper Rocks” were handed out to delegates. “She wanted it to be a party, and she
wanted to rally the troops… to put some
adrenaline and some rhythm into the convention,” says Mickey. “ Tipper couldn’t think
of a more appropriate way to do it, and I
agreed with her, so we sort of hatched this
idea. It was like a rock ‘n’ roll moment. When
Tipper came out on stage, she was sort of
DEAD WORLD ROUNDUP
surprised — I wouldn’t say scared, but her
eyes were wide open. I don’t think that she
was ready for that rush of energy. You know,
you have 18,000 people stomping and clapping, and the podium was shaking. I was
just saying ‘Have fun! Relax! Enjoy yourself!’
And she had fun! She was really enjoying
herself, and it was really great to see her
get loose like that. It was really a moment,
and I think it helped the Vice-President really deliver a great speech. I think it energized
him. I’d like to think so.”
The drum event was just the latest in
what Mickey describes as a growing and
warm relationship with the Gores: “I knew
him as a Senator, so it’s been a long time finding out who they are. And these are real good
people.” Hart is supporting the Gore campaign because “ The alternative is really not
acceptable. The arts would be destroyed. The
national forests. Women’s rights. All the
things that we believe in. A lot of the things
he believes in are the things we held dear in
the 60s. It was peripheral then, but now it’s
mainstream. The environment. The arts.
Music in the schools. The stuff that we were
champions of. So really, he’s embraced a lot
of ideals that we as the Grateful Dead had.
That’s one of the reasons I’m attracted to all
this. I don’t want to play kingmaker. It’s not
like he’s going to do everything I say. I’m sure
he’s not. Nor will I agree with everything he
does. But we have dialog now. I have his number and can reach him at any time, and he
knows where I live. This is a good connec-
Big Brother and the Holding Company,
Quicksilver Messenger Service, Moby
Grape, Country Joe and the Fish — all
these and more played at Fillmore East,
giving many New Yorkers their first dose
of real San Francisco psychedelia.
Foremost among these invaders from the
West, though, was the Grateful Dead.
Although the band had previously played
a couple of other local venues
(including the same building in
its Village Theatre incarnation),
and would continue to work
elsewhere in the area on occasion, it was really at Fillmore
East that the Dead’s long love
affair with New York and its
famously intense audiences
began in earnest. Starting in June
of 1968, the Dead played more
than three dozen shows at the
venue — more than any other
band — including a good many that
descriptive title: “shrine.” These were the
places where the serious magic happened, Deadhead historians number among the
greatest of the band’s career.
and it often felt to audiences as though
Of those many great shows, none were
the buildings themselves were actual colgreater than the Dead’s fond farewell to
laborators in that magic.
the old place, an epic five-night stand in
Of those very few special venues, a
April of 1971. From the moment Bill
disproportionate number seem to have
Graham announced that he would close
had the word “Fillmore” in their names.
Fillmore East in June of that year, it
These were, of course, the domains of
seemed that every rock fan in New York
rock’s greatest impresario, Bill Graham.
wanted to see as many shows as possible
On the West Coast, there was the origiin the hallowed hall — almost, it seemed,
nal Fillmore Auditorium — one of the
birthplaces of the San Francisco Scene — regardless of who happened to be playing
there. The Dead’s run of shows in particand its successor, Fillmore West (nee the
ular became one of
Carousel Ballroom); and
the hottest tickets in
on the Lower East Side
town, and both the
of Manhattan, a someband and the audiwhat frayed-round-theence seemed to
edges former Yiddish
approach these gigs
theater/movie palace
with an extra sense
(previously known as
of urgency. The Dead
the Commodore and
left nothing in the
the Village Theatre),
dressing room on
which Graham estabthese nights, playing five shows of
lished as his New York outpost in March
marathon duration and extraordinary
of 1968 and renamed Fillmore East. For a
intensity. The April ’71 shows quickly
little over three years, Fillmore East was
took on legendary status among
the place to hear the best in rock music
Deadheads, to the point that the number
(and a fair amount of great jazz, blues
of people who claim to have been there
and other genres) in New York. Virtually
exceeds the building’s capacity many
every major act touring in those years
times over.
graced the Fillmore stage, and up-andThe distilled essence of those five
coming artists dreamed of playing there.
immortal nights on Second Avenue has
Not surprisingly, the old joint quickly
been captured at long last, and is now
became the East Coast stronghold of the
available in your very own ears, on the
Bay Area bands with whom Graham was
brand new four CD set simply titled:
so closely associated: Jefferson Airplane,
Ladies and Gentlemen…The Grateful Dead.
While recordings of these shows have
been coveted and traded by Grateful
#4075
Dead tape collectors for nearly three
Ladies and
Gentlemen…
decades, no one (except the lucky souls
the Grateful
who were at the shows) has ever heard
Dead
them sound quite the way they do on
$27.00
these four discs — mixed and digitally
mastered, for the first time ever, from the
original 2 -inch multi-track
CD ONE
CD THREE
tapes. It’s all presented in an
1 Truckin’
1 China Cat Sunflower >
2 Bertha
2 I Know You Rider
appropriately trippy-looking
3 Next Time You See Me
3 It Hurts Me Too
package, complete with a 164 Beat It On Down The
4 Sing Me Back Home
page booklet featuring rare phoLine
5 Hard To Handle
tographs and an essay by one
5 Bird Song
6 Dark Star >
6 Dark Hollow
who was at the Fillmore on a
7 St. Stephen >
7 Second That Emotion
8 Not Fade Away >
couple of these nights: longtime
8 Me And My Uncle
9 Goin’ Down The Road
Grateful Dead scholar and jour9 Cumberland Blues
Feeling Bad >
nalist Blair Jackson, author of
10 Good Lovin’ >
10 Not Fade Away
Garcia: An American Life and a
1 1 Drums >
CD FOUR
12 Good Lovin’
co-producer of the acclaimed
1 Morning Dew
Grateful Dead boxed set, So
CD TWO
2 New Minglewood Blues
Many Roads (1965-1995).
1 Sugar Magnolia
3 Wharf Rat
2 Loser
4 Alligator >
Given the abundance of rich3 Ain’t It Crazy (The Rub)
5 Drums >
es on these discs — 42 tracks,
4 El Paso
6 Jam >
adding up to nearly five hours of
7 Goin’ Down The Road
5 I’m A King Bee
music — it’s hard to know
Feeling Bad >
6 Ripple
8 Cold Rain And Snow
where to begin describing the
7 Me And Bobby M c Gee
9 Casey Jones
8 Uncle John’s Band >
highlights (in fact, these shows
10 In The Midnight Hour >
9 Turn On Your Lovelight
were so full of great musical
11 We Bid You Goodnight
moments that another release
neW muSic
culled from this same run is being considered). But we will try to give you an idea
of just how much good stuff is here. Such
as: some sweet samplings from the Dead’s
repertoire of country-flavored tunes,
including Kris Kristofferson’s “Me and
Bobby McGee,” Merle Haggard’s “Sing
Me Back Home” and the band’s own
“Cumberland Blues”; Jerry Garcia’s sweet
rendition of Smokey Robinson’s “I Second
That Emotion” (never before released on a
Grateful Dead album); powerful versions
of “Morning Dew” and “Wharf Rat”;
unusual electric performances of songs
the band generally played in an acoustic
setting, like “Dark Hollow” and “Ripple”;
and the deep-space centerpiece of the set
— a stellar suite of “Dark Star” and “St.
Stephen” (featuring a cameo appearance
by Dead alumnus Tom Constanten on
organ), followed by an earth-shaking
“Not Fade Away” (with “Going Down
The Road Feeling Bad” sandwiched in).
All the members of the band are in top
form throughout. But if we were pressed
to name a Most Valuable Player on this
set, it just might have to be the Dead’s
own resident churnin’-urn-o’-burnin’funk, the heart-and-soul man of the band,
the one and only Ron “Pigpen” McKernan.
Ladies and Gentlemen…The Grateful Dead is
likely the greatest showcase for Pigpen’s
unique talent and showmanship that has
ever been released. Here we find Pig dipping into the songbooks of Junior Parker
(“Next Time You See Me”), Lightnin’
Hopkins (“Ain’t It Crazy [The Rub]”) and
Slim Harpo (“King Bee”) and turning in
tour de force performances on some of his
signature tunes, including “Alligator”
(the Dead’s final rendition of the song, as
it turned out), “Turn On Your Lovelight,”
“Good Lovin’” with one of the all-time
great Pigpen stream-of-consciousness
soul raps interposed, and one of the peak
versions of Otis Redding’s “Hard To
Handle,” which finds the Dead putting
the lie to their rep as psychedelic
“noodlers” by laying down a rock-solid,
razor-sharp R&B groove that the StaxVolt rhythm section would have been
proud to call its own.
By the time Pigpen has delivered the
penultimate knockout blow with Wilson
Pickett’s “In The Midnight Hour” followed by the band’s appropriately sweet
Fillmore East swan song, “We Bid You
Goodnight,” you may well find yourself in
something like the same pleasantly disoriented state of bliss as that experienced
by the folks who stumbled out onto the
East Village streets in the early morning
hours of April 30, 1971. If you’ve always
wished you could’ve been there — or if
you were, but thought you could never go
back — well, now you can.
CD ONE
1 Promised Land
2 Sugaree
3 Mexicali Blues
4 Tennessee Jed
5 Looks Like Rain
6 Don’t Ease Me In
7 Jack Straw
8 They Love Each Other
9 El Paso
10 Row Jimmy
CD TWO
1 Playing in the Band
2 China Cat Sunflower
>
OKLAHOMA?
OK!
DICK’S PICKS, VOLUME 19
FAIRGROUNDS ARENA OKLAHOMA CITY, OK 10.19.1973
The Grateful Dead were always, it
seemed, just a bit ahead of their time in
many things. For example: in 1973, a good
three years before the rest of the country
celebrated the bicentennial of the
American Revolution, the Dead invoked
the Spirit of ’76 in their own way, by
declaring their independence from most
of the music industry. Completely severing ties with Warner Brothers, The band
started Grateful Dead Records, a company
entirely owned and operated by the
artists who recorded for it, which was
revolutionary indeed in those days
(Grateful Dead Productions also established other satellite operations, including
its own in-house booking agency, and
even spun off a company that took care of
the band’s travel arrangements).
Although that particular experiment in
self-determination would prove shortlived, it was an exciting time for the Dead,
and one of the most musically creative
periods of the band’s career. In October of
1973, Grateful Dead Records proudly
issued its first release — the Dead’s first
studio album in nearly three years, Wake of
the Flood. It was a musically impressive
work, and the Dead, perhaps eager to
show how efficiently they could operate
when unencumbered by music-biz red
tape, got it into the stores, through their
own network of independent distributors,
barely a month after recording and mixing
were completed. Having proudly sent
forth the fruit of their labors, the band hit
the road in support of the album.
The very first show the band played
after the release of Wake, at the
Fairgrounds Arena in Oklahoma City, OK,
just happens to be the one selected as
Dick’s Picks, Volume 19, the latest in our
series of rare gems from the Grateful Dead
tape archives, digitally mastered from the
original 2-track master tapes. The three
#4039
discs reveal an energized band, with a
Dick’s Picks
whole lot of creative momentum going for
Nineteen
it. As you might expect, some of the
$20.00
strongest performances come on the
material that the Dead had just finished
recording weeks before: “Row Jimmy,”
“Mississippi Half Step Uptown
3 I Know You Rider
Toodeloo,” “Eyes of the World” and
4 Me and My Uncle
5 Mississippi Half Step
“Stella Blue” are all given splendid
Uptown Toodeloo
readings. But the band doesn’t
6 Big River
neglect the more familiar fare —
also heard here are exemplary renCD THREE
1 Dark Star >
ditions of “Dark Star,” “Sugaree,”
2 Mind Left Body Jam >
“Sugar Magnolia” and a version of
3 Morning Dew
“Playing In The Band” that was
4 Sugar Magnolia
exceptional even by the standard
5 Eyes of the World >
of 1973, a year in which great ver6 Stella Blue
7 Johnny B. Goode
sions of that song seemed to be
mandatory.
5
THE (new) OLD STANDARDS
B O B W E I R & R AT D O G
Photo: Robert Minkin
evocative of candlelight, perfumed air and
cocktails for two; then there’s the design,
reminiscent of a cool-jazz LP of the 50s.
And finally there’s the photo, a glamour
shot of a model bathed in blue light. But
there’s something about that model. She’s…
she’s…
she’s the ugliest damned dog you’ve ever
seen.
“That,” explains Bob Weir, trying hard
to contain his emotions, “is little Nana.
The five-time and current reigning champion pulchritude- challenged dog.” This is
not, mind you, just Bobby’s opinion. Nana
has indeed been named World’s Ugliest
Dog in a contest at the Sonoma-Marin fair
in Northern California five times. And
just how did she find her way from a
county fair to an exciting new career as
an international supermodel? Bob’s voice
takes on a quasi-mystical tone as he
struggles to explain his harmonic convergence with the visually dissonant pooch:
“It was the hand of fate that brought us
together. We were looking for a dog for
our cover, and they had just had the contest up in Petaluma. A friend of mine
MOODS
went up there and checked it out, and we
came up with little Nana, who looks basically like a cross between a Chihuahua
and a werewolf.”
In case you haven’t guessed by now,
Bob Weir is a guy who looks at things a
little, uh, differently from the rest of us.
And it is, in part, his unique way of
approaching any given situation that has
made the five-year history of RatDog,
from the band’s inception to Evening
Moods, such an intriguing process to
observe. A lot of people forming new
bands might put their personnel
in place, settle upon a certain style
or attitude, set their sights on a
goal, and stick to a game plan.
Not Bobby. When RatDog began
to take form in 1995, an outgrowth
of Bob’s longtime collaboration
with bassist Rob Wasserman, he
was in no hurry to etch the band’s
identity in stone. Starting with the
still-intact nucleus of Weir,
Wasserman and drummer Jay Lane,
Bob was happy to take his time
searching for the right combination
of musical ingredients.
“I was just following it wherever
it would go, with whatever collection of musicians we had managed
to let fall together,” Bob explains.
“And for a while it was more a
blues band than anything (the original lineup featured Matt Kelly on
harmonica and guitar, and legendary R&B pianist Johnnie
Johnson joined for a spell in 1996).
But my material isn’t exactly that
kind of stuff. And one by one the
right guys came into our fold to
play the stuff that I tend to write.
And it sort of evolved from a blues
band to what we have now.”
That evolutionary process was
helped along immensely by the
addition of players with a strong
grounding in improvised music,
such as saxophonist Dave Ellis and
keyboardist Jeff Chimenti, both
highly respected members of the
Bay Area jazz community. Then
Mark Karan, fresh from his maiden
voyage with The Other Ones, jumped on
board as lead guitarist. Once things started to jell with this lineup, Bob decided
that the time was right to start work on
that long-promised RatDog album. As he
explains it, “ We had to stabilize the personnel in the band… and as soon as that
happened, and I wasn’t always teaching
new guys older material, we had time to
devote to writing new material” (There
was, however, one more significant change
before the album was made: Dave Ellis left
the band last fall. Another fine Bay Area
player, Eric Crystal, ably filled the saxophone slot on Evening Moods, and yet another, Kenny Brooks — who, oddly enough,
also replaced Ellis in guitarist Charlie
Hunter’s band — has been touring with
RatDog since last spring).
The songs for this album came together in something of the same experimental
spirit as the band itself. Most of the tunes
grew out of jams that happened during an
intense period of woodshedding at Bob’s
home studio during 1999, with the entire
band functioning as composers. Bob
worked on the lyrics with a variety of
friends and collaborators both old and
neW muSic
BOb Weir & RatDOg
#4072 Evening Moods
Bury Me Standing c Lucky EnOugh c
Odessa c Ashes and Glass c
WelcOme TO The WOrld c TwO Djinn >
COrrina c OctOber Queen c
The Deep End c Even SO
$15.00
new. The newest is Andre Pessis, a Marin
County resident who has written for
Bonnie Raitt, Huey Lewis, Journey and
Waylon Jennings. The older hands are
John Barlow, Weir’s regular collaborator
since the early 70s, and Gerrit Graham,
who co-wrote the Grateful Dead song
“Victim or the Crime” (you may also
know Gerrit as a busy actor — he was
most recently on the acclaimed TV series
“Now and Again,” and was unforgettable
as the outrageous glam-rocker Beef in
Brian DePalma’s cult classic horror/comedy film “Phantom of the Paradise”).
Robert Hunter is also represented on an
old favorite, and Dave Ellis’ dad Russ contributed as well.
The resulting album is a sweet vindication of Bobby’s rather unconventional
method of growing a band. This is an
exceptionally strong collection of songs,
played with energy and spontaneity by a
band that seems to be hitting its stride
at exactly the right moment. Among the
brightest spots are: “Bury Me Standing,”
a dark-hued blues, redolent of the
Mississippi delta, but with an exotic sounding jamming section thrown in;
“Lucky Enough,” a beautiful Barlow lyric
about finding a measure of grace even in
the most despairing moments; “Odessa,”
a great bit of R&B raunch a la RatDog;
“Ashes and Glass,” which is blessed with
a positively addictive refrain — a
“Mockingbird”-inspired sing-a-long that
you will not be able to get out of your
head; the hopeful “Welcome to the
World”; and the album’s musical centerpiece, “Two Djinn,” a phantasmagoric
Weir/Graham allegory set to Middle
Eastern-sounding music, with the galloping rhythmic gait of an Arabian stallion on the open desert. The song opens
up into some deep jamming, then
morphs right into a rollicking version of
“Corrina,” the Hunter/Hart/Weir tune
that was a staple of the Grateful Dead
and The Other Ones’ repertoire, as well
as that of RatDog.
So, welcome to the world of RatDog, as
it currently stands. But don’t be surprised
if the band has evolved yet again somewhere not too far down the road. Bobby
says he’s still looking for new angles, to
keep things fresh, and to keep you guessing. “ It could get bigger,” He says, the
wheels turning yet again, “I wouldn’t mind
taking on a horn section, for example.” By
the time you read this, RatDog will be on
the road again, playing this music live. If
they’re in a town near you, go and check
out this ongoing work-in-progress. And
tell ‘em little Nana sent you.
STOLEN ROSES
Songs of the Grateful Dead
#4073
Cumberland Blues (Cache Valley Drifters) c High
Time (“Cumberland Blues” Cast) c BrOwn-Eyed
WOman (The Pontiac Brothers) c Friend Of The
Devil (Bob Dylan) c Ship Of Fols/It Must Have
Been the ROses (Elvis Costello) c Black Peter (Patti
Smith Band) c Black Muddy River (The Persuasions)
c Dark Star (David Grisman Quintet) c Ripple (Sex
Mob) c The GOlden ROad (The Bobs) c UnbrOken
Chain (Joe Gallant & Illuminati) c Franklin’s TOwer
(Wartime featuring Henry Rollins) c Pasta On The
MOuntain (Leftover Salmon) c Cream Puff War
(Widespread Panic) c Uncle JOhn’s Band (Stanford
Marching Band)
$15.00
Persuasions and friends (clockwise from left): Jayotis Washington, Jimmy
Hayes, Jerry Lawson, Ray Sanders, producer David Gans, Sweet Joe Russell,
guest pianist Vince Welnick.
the deliriously adventurous New
York band led by jazz
provocateur Steven Bernstein,
whose sweetly mournful trumpet
manages to evoke such departed
heroes as Louis Armstrong,
Lester Bowie and Jerry Garcia all
at once. And then there’s “Uncle
John’s Band,” by Stanford
University’s famously wacky
marching band, which pretty
much covers the whole
ridiculous-to-sublime spectrum
all by its lonesome.
c
with those rare previously released
tracks, several that had never been
commercially available at all, and a few
that were recorded specifically for this
project. In the latter category were the
David Grisman Quintet’s acoustic jazzwaltz transformation of “Dark Star,” a
poignant version of “High Time” by
members of the original cast of the
musical theater work Cumberland Blues and
a high-energy take on “Cream Puff War”
by Widespread Panic. The last item was,
Gans explained, something of a happy
accident: “I had heard they were doing it
live, so I called their management, just
looking for a live tape. And they said,
‘well, we’re in the studio working on a
record right now. Why don’t we just
knock one out for ya?’ So they did. It
worked out well that they gave me a very
concise and energetic performance, which
suited the album perfectly —in the liner
notes, (Panic bassist) Dave Schools says
it’s probably the shortest song they’ve
ever recorded!”
Also in that “happy accident” category
was the inclusion of a ragged, raw and
deeply moving rendition of “Black Peter”
by Patti Smith and her band, recorded as
an off-the-cuff tribute on the day that
Jerry Garcia died. Gans says that “It’s
only because I know Steve Silberman that
I knew Patti had recorded ‘Black Peter,’
because I knew that he had gotten the
call looking for the lyrics. It was all the
clue I needed to follow that thread
through a mutual friend, and to my great
surprise, Patti said ‘sure, you can have it.’”
Equally obliging were Elvis Costello,
who gladly contributed a soundboard
tape of his solo medley of “Ship of Fools”
and “It Must Have Been The Roses,”
recorded at the memorable 1987 San Jose
show at which Elvis first revealed his
inner Deadhead in public, and Bob Dylan,
who provided a live version of “Friend of
the Devil,” performed with his band. As
with all things Dylan, there’s a certain air
of mystery and perverse wit about this:
no information is given as to the time and
place of the performance, and from the
sound of it, the tape seems to have been
made surreptitiously by an audience
member — might this be a sly comment
on the taping/bootleg culture by Dylan
(one of the most frequently bootlegged
artists in history)? Only Bob knows for
sure, and he ain’t tellin’!
Among the other standout tracks on
Stolen Roses are performances that range
from the bucolic (the Cache Valley
Drifters’ pure-bluegrass “Cumberland
Blues”) to the downright apocalyptic (a
dark, scary industrial-funk
deconstruction of “Franklin’s Tower” by
Wartime, featuring poet and hardcore
punk pioneer Henry Rollins, former
frontman for Black Flag). Of the latter,
Gans says “It fit my criteria, which was to
go for the revolutionary interpretation
wherever possible. To find the broadest
range of interpretations available was the
thing, to show how many different
schools of music can tackle this stuff.”
Very much in that spirit is a gorgeous,
elegiac reading of “Ripple” by Sex Mob,
c
c
c
c
But for all of the serendipitous
wonders to be found on Stolen Roses, the
project’s greatest gift to the Grateful
Dead’s musical legacy may turn out to be
the role it played in bringing the
Persuasions into the land of the Dead.
The legendary a cappella group’s gorgeous
gospel-flavored version of “Black Muddy
River,” recorded for Stolen Roses, led
directly to the making of Might as Well: The
Persuasions Sing Grateful Dead.
A bit of history: The Persuasions have
been trailblazers in the field of a cappella
harmonizing since the early 60s, when
the group first started creating its “street
corner symphonies” on the streets and
playgrounds of New York City. Founding
members Jerry Lawson, Jimmy Hayes,
Joseph “Sweet Joe” Russell and Jayotis
Washington have been together ever
since (the fifth original member, Herbert
“Toubo” Rhoad, passed away in 1988.
Raymond Sanders now rounds out the
quintet). Unlike many practitioners of a
cappella, who stay rooted in one era and
style, the Persuasions have always been a
forward-looking bunch, singing as wide a
range of styles as possible and striving to
stay in stride with the times (or a little
bit ahead). Their repertoire has always
been strong on contemporary material
rather than nostalgic “oldies,” and they
have collaborated with some notable
musical innovators, including Joni
Mitchell, Stevie Wonder and Frank
Zappa (in fact, they recorded an entire
album of Zappa songs, 1999’s Frankly a
cappella). Earlier this year, writer Rip
Rense, an associate of the Persuasions
who also happens to be a longtime
Deadhead, approached David Gans with
the idea of a Persuasions album of
Grateful Dead songs. Gans suggested that
the group submit a song for inclusion on
Stolen Roses. The result, Black Muddy River,
was the only calling card needed to
convince Grateful Dead Records that a
full-on Persuasions-sing-the-Dead album
was something the world needed.
David Gans was thrilled to accept the
challenge of helping to produce Might as
The persuasiOns
#4070 Might As Well
The Persuasions Sing Grateful Dead
Here COmes Sunshine c Might As Well c
Lazy River ROad c Lose Lucy c Ripple c
BrOkedOwn Palace c Liberty c Sugaree c
Ship Of Fols c He’s GOne c It Must Have Been
the ROses c One MOre Saturday Night c
Bertha c I Bid YOu God Night c
Black Muddy River
$15.00
neW muSic
Well, and quickly found himself in a very
comfortable and mutually beneficial
working relationship with the
Persuasions. As he puts it: “I brought
knowledge of the material and they
brought knowledge of themselves, and so
there was a perfect reciprocal respect, a
mutuality in the relationship. There were
things that I could do for them that they
could appreciate, and then I would stand
back and appreciate the magic of what
they were doing.”
Persuasions leader Jerry Lawson says
that Might As Well was not just a title, but
an operating philosophy. “We’d be in the
studio just improvising, tryin’ out things,”
he recalls fondly, “and when someone
would say, ‘should we try this?’ someone
else would say ‘might as well!’ So the title
says it all!” The boldest experiment was
to augment the Persuasions’ beautiful
harmonies with additional singers and, in
some cases, with instruments other than
the human voice. Lawson understands
that this might cause some controversy
among a cappella purists, but says, “This is
the year 2000. We sing a cappella, but
we’re not in prison here! It was just time to
stretch out a little bit. I understand about
the fans, but sometimes the fans just have
to let the artist have a good time. And this
was time for us to have a good time!”
Helping the good times roll were: the
four women who comprise the terrific
Bay Area a cappella group Mary Schmary
(check out the amazing “trumpets” and
“trombones” — all human voices! — on
the title track); “mouth drummer”
Andrew Chaikin; percussionist Joe
Craven (from the David Grisman
Quintet); and several musicians with
long-standing connections to the Dead
world (Peter Rowan, Eric Thompson,
Pete Grant).
Also on hand was one genuine
Grateful Dead alumnus, Vince Welnick,
who contributed some lovely piano work
on several tracks, most notably on “Ship
of Fools,” which became essentially a solo
showcase for the magnificent Persuasions
bassman, Jimmy Hayes, who turns the
song into something evocative of a lonely
saloon at last call.
Similar transformative magic is
performed on the album’s other songs.
“Loose Lucy” becomes the kind of comic
R&B romp that Lieber and Stoller used to
write for the Coasters; “Brokedown
Palace” and “Black Muddy River” sounds
like they might have been recorded by
some of the great gospel harmony groups
(the Harmonizing Four, Swan
Silvertones); “He’s Gone,” usually
performed as a mournful dirge by the
Dead, is given a much more up-tempo
reading here, prompting the listener to
hear the words in a whole new way; and
some of the latter-day songs that the Dead
never got around to formally recording in
the studio (“Liberty,” “Lazy River Road”)
are given what may well be the finest
performances they will ever receive.
c
c
c
c
Photo: Jay Blakesberg
EVENING
After five years of playing, touring,
experimenting with various configurations and generally metamorphosing, Bob
Weir and RatDog are finally ready to
unleash their debut album upon a breathlessly waiting world. We’re here to tell
you all about the band, the music and
RatDog’s plans for the near future. But
before all that, we must tell you about the
album cover.
Everything about this package conveys
an air of elegance, mystery and romance.
First, there’s the title: Evening Moods —
There is a term in musical lingo for
those songs that stand the test of time,
that are reinterpreted and rerecorded
time and time again, and that earn a
permanent home in the public
consciousness — they are called
“standards.” In each generation,
thousands upon thousands of songs are
written, but only a handful stick around
long enough to be accorded this honor. It
might just be that the Grateful Dead’s
best work now stands ready to be
accepted among the standards of this
generation and those yet to come.
Testimony to the enduring nature of
this music can be found on three brandnew albums — Might as Well: The Persuasions
Sing Grateful Dead; Wake the Dead; and Stolen
Roses: Songs of the Grateful Dead — all just
released on Grateful Dead Records. Each
of the first two features a single group
reinterpreting and reinvigorating the
Dead’s material in a most distinctive
fashion: Might as Well presents the great a
cappella pioneers The Persuasions, giving
the music an infusion of deep soul, R&B
and gospel, while Wake The Dead spotlights
a stellar group of folk musicians finding
common ground between the Dead’s
songs and traditional Celtic music. Stolen
Roses, on the other hand, is a fascinating
grab-bag: 15 interpretations of Dead tunes
by 15 artists — some previously released,
some available for the first time here —
that range in style and attitude from the
reverent to the outright heretical.
Of the three projects, Stolen Roses is the
one that had been on the drawing board
the longest. During the years he has been
playing Grateful Dead music on the radio,
the compilation’s producer, David Gans,
has had occasion to hear practically every
extant cover version of a Dead tune. “I
always thought they should be covered
more widely,” he says of the Dead’s songs.
“Putting some of the best of these covers
on an album was something I’ve wanted
to do for a long time. I wanted the stuff
that people had added to their repertoires
of their own volition, rather than
something that someone had just decided
to record for a tribute. I also wanted to
collect them because so many of the good
ones were out of print, or hard to find for
some other reason.”
After completing his work on the
hugely successful Grateful Dead box set
So Many Roads (1965-1995), which he coproduced, Gans turned his attention to
gathering the music for Stolen Roses.
Somewhere along the way the scope of
the album expanded to include, along
Photo: Susana Millman
MOOD MUSIC
Wake the Dead: (kneeling) Sylvia Herold, Joe Craven
(standing l to r) Danny Carnahan, Paul Kotapish, Maureen
Brennan, Kevin Carr, Cindy Brown
much of the Dead’s music, after all, as
some pretty deep roots in the folk
tradition — but he thought the idea “too
loony” to try to discuss seriously with
anyone else. That is, until he found out
that his old friend and fellow musician
Paul Kotapish had been harboring an
almost identical notion. The two started
fleshing out their fusion of Grateful Dead
tunes with traditional Celtic music and
from there, Danny says “it just rolled —
the snowball grew. “ Rounding up some
kindred spirits (harpist Maureen
Brennan, bassist Cindy Brown, piper/
fiddler Kevin Carr and singer Sylvia
Herold), they formed Wake the Dead (or
as they wittily nicknamed it, “Uncle Sean’s
Band”), and shortly thereafter set out to
record their eponymous debut album
(with a guest appearance by the
ubiquitous Joe Craven, who has the
distinction of appearing on all three of the
albums under discussion). Danny
Carnahan was astonished at how quickly
and effortlessly it all came together: “ It
was one of the smoothest transitions from
concept to fruition I’ve ever experienced.
It was just totally organic. It made sense
from the very first instant.”
Wake the Dead is a thorough delight
from start to end, seamlessly interweaving
the good old tunes with the good older
tunes — traditional airs, jigs and reels
(plus one original dubbed an “unreel”).
You’ve never heard songs like “Bertha,”
“The Wheel,” “Sugaree” and “Bird Song”
quite like this, and it’s likely that you’ll
never listen to them in quite the same
way again.
WAKE THE DEAD
#4074
Banks Of LOugh GOwna > The ReuniOn >
Friend Of the Devil c My Marianne > The
Wheel c Christmas Eve > China Cat
SunflOwer > Bank Of Ireland > The Bear >
Bertha > Cliffs Of MOstar c LOrd Inchiquin >
Sugaree c COleman’s CrOss > Bird SOng c
Brigid Cruise > Black Muddy River c TOuch Of
Grey > Jack the Lad > BOys Of Malin > Trip tO
WindsOr c ROw Jimmy
$15.00
c
Grateful Dead music is transformed in
a whole other way on the enchanting Wake
the Dead. Singer/multi-instrumentalist
Danny Carnahan, a longtime member of
Northern California’s thriving Irish/Celtic
folk scene, had the inspired notion of
combining two of his greatest musical
passions. As Carnahan explains it: “I’ve
been a Deadhead all of my coherent adult
life. I’ve played Dead songs, at parties and
music festivals, for as long as I could
remember, and I’ve played Celtic music for
as long as I can remember. I had this crazy
idea one day that I could play an Irish reel
along with the “China Cat riff.” To
Danny’s delight, it worked beautifully —
Considered separately or together,
these three new releases make a strong
case for the notion of Grateful Dead songs
as the Standards of the 21st century,
providing compelling evidence that this
music will prove to be, as the man once
wrote, built to last.
6
7
MOre New Music
muSic
Grateful dead
#4001
#4002
#4006
#4007
#4013
Steve Kimock has been a vital member
of the San Francisco Bay Area’s musical
community for more than two decades. He
has been well known to Deadheads since the
early 1980s, when he played with Keith and
Donna Godchaux, and with Bob Weir in
Kingfish. In recent years, he’s worked with
such Dead-related outfits as Phil Lesh &
Friends, Mickey Hart’s Planet Drum, Missing
Man Formation and, of course, The Other
Ones. With those bands, and as a founding
member of groups like Zero and KVHW,
Kimock has earned legions of fans with his
soaring, jazz-inflected guitar playing.
Steve’s newest musical incarnation, The
Steve Kimock Band, may well provide the
most impressive showcase thus far for his
artistry. Kimock has surrounded himself
with an all-star cast of musical friends,
including bassist Bobby Vega, drummer
Alan Hertz and keyboardists Pete Sears and
Tom Coster. The stripped-down format gives
Steve an unprecedented amount of open
territory in which to explore, and he makes
the most of it on his new band’s debut CD,
recorded at a series of live performances
earlier this year. Kimock and friends stretch
things way out on four original tunes and a
cover of the Wayne Shorter classic
“Footprints.”
#4014
#4016
#4018
#4019
#4020
#4021
#4023
#4024
#4025
#4026
#DP1-6

#4027 Dick’s Picks, Vol. 7 (1974/97) 
#4028 Dick’s Picks, Vol. 8 (1970/97) 
#4029 Dick’s Picks, Vol. 9 (1990/97) 
#4030 Dick’s Picks, Vol. 10 (1977/98) 
#4031 Dick’s Picks, Vol. 11 (1972/98) 
#4032 Dick’s Picks, Vol. 12 (1974/98) 
#DP7-12Dick’s Picks (7-12) Special Set #2


Steve kimOck Band
#4224 Live from the West Coast
Samba c Fotprints c
5 B4 Funk c STD c It’s Up TO YOu
$16.00
About the only predictable thing about
Rob Wasserman is his unpredictability.
You know Rob as Bob Weir’s longtime
musical collaborator and co-founder of
RatDog. But the innovative bassist has
played in a dazzlingly diverse range of
contexts, from the dark realm of punk
progenitor Lou Reed to the acoustic
improvisation of David Grisman’s “Dawg
music.” He has also recorded and/or toured
with Van Morrison, Rickie Lee Jones, Elvis
Costello and Dan Hicks (post-Hot Licks),
to name but a few. Under his own name,
Rob recorded an acclaimed trilogy of
albums: Solo, the Grammy-winning Duets
and Trio.
Now comes Rob’s Space Island, and
longtime Wasserman followers will find
that it’s a bold departure from anything
he’s done before. Wasserman’s principal
co-conspirator here is top hip-hop/funk
producer/engineer Dave Aron (Snoop
Doggy Dogg, 2Pac, Prince), who weds
Wasserman’s unique bass sound with
inventively rhythmic grooves and loops,
with help from a stellar cast of guests,
including Jane’s Addiction/ Porno for
Pyros drummer Stephen Perkins, Indian
sarangi master Ustad Sultan Khan,
turntablist DJ Jam and others.
ROb Wasserman
#4222 Space Island
Wildside c LOve SOng c GOt TO ROck c
Hillbilly Hip HOp c Ipanema c Nu Ballad c
Feel The Bass c Space Island c Is AnyOne There?
cPrairie SOng c Sultan SOng
$16.00
8
Blues For Allah (1975)  ∑
Wake Of The Flood (1973)  ∑
Steal Your Face (1976)  ∑ ∑
Mars Hotel (1974)  ∑
One From The Vault
(1975/91)  ∑∑
Infrared Roses (1992)  ∑
Two From The Vault
(1968/92)  ∑∑
Dick’s Picks, Vol. 1 (1973/93) 
Dick’s Picks, Vol. 2 (1971/94) 
Hundred Year Hall
(1972/95)  ∑∑
Dick’s Picks, Vol. 3 (1977/95) 
Dick’s Picks, Vol. 4 (1970/96) 
Dick’s Picks, Vol. 5 (1979/96) 
Dozin’ At the Knick (1990/96) 
Dick’s Picks Vol. 6 (1983/96) 
Dick’s Picks (1-6) Special Set #1
#4033
#4034
#4035
#4036
#4037
#4038
#4052
#4054
#4055
#4066
#4077
#4101
#4140
#4141
#4152
#4155
#4156
#4157
#4158
#4159
#4160
#4161
#4162
#4163
#4164
#4165
#4167
#4168
#4169
#4170
#4171
#4172
KEN NORDINE
∑= NUMBER OF CASSETTES
CASS
$15.00
$15.00
$ 7.00
$ 7.00
SAN QUENTIN MASS CHOIR
CD
CASS
$15.00
$15.00
$19.00
$15.00
$ 7.00
$ 7.00
$ 9.00
$ 7.00
$19.00
$15.00
$ 9.00
$ 7.00
$19.00
$17.00
$12.00
$ 9.00
N/A
N/A
$19.00
$17.00
$20.00
$20.00
$23.00
$20.00
$ 9.00
N/A
N/A
N/A
N/A
N/A
$97.50
$20.00
$20.00
$20.00
$20.00
$20.00
$20.00
$109.50
$20.00
Dick’s Picks, Vol. 13 (1981/99) 
Dick’s Picks Vol. 14 (1973/99)  $24.00
$20.00
Dick’s Picks Vol. 15 (1977/99) 
$20.00
Dick’s Picks Vol. 16 (1969/00) 
$20.00
Dick’s Picks Vol, 17 (1991/00) 
Dick’s Picks Vol. 18 (1978/00) 
$20.00
Fallout from the Phil Zone
$19.00
(1997) 
$19.00
Fillmore East (1969/97) 
$39.50
Terrapin Limited (1990/97) 
$60.00
So Many Roads 
View From the Vault (1990/00)  $20.00
$15.00
Dylan & The Dead (1987)  ∑
$17.00
Reckoning (1981) 
$17.00
Dead Set (1981) 
$23.00
Arista Years (1996) 
Live Dead (1969)  ∑
$17.00
$15.00
Workingman’s Dead (1970)  ∑
$15.00
American Beauty (1971)  ∑
$17.00
Grateful Dead (1971)  ∑
$23.00
Europe ’72 (1972)  ∑∑
$15.00
Bear’s Choice (1973) 
Skeleton’s from the Closet (1974)  ∑ $15.00
What a Long Strange Trip It’s Been
$23.00
(1977)  ∑
Anthem of the Sun (1968) 
$15.00
$15.00
Aoxomoxoa (1969) 
$15.00
The Grateful Dead (1967) 
$15.00
Shakedown Street (1978) 
$15.00
Terrapin Station (1977) 
$15.00
Go to Heaven (1980) 
$15.00
In the Dark (1987) 
$15.00
Built to Last (1989) 
$19.00
Without a Net (1990) 
LEGEND:  = NUMBER OF CDS
#4015 DEVOUT CATALYST
(1992) with Jerry Garcia  ∑
#4017 Upper Limbo (1993)  ∑
“If music be the food of love …
CD
N/A
N/A
N/A
N/A
N/A
N/A
N/A
N/A
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N/A
N/A
N/A
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N/A
N/A
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N/A
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N/A
N/A
N/A
$14.00
$ 8.00
$ 8.00
$13.00
$17.00
N/A
$ 8.00
$13.00
N/A
N/A
N/A
N/A
N/A
N/A
N/A
N/A
N/A
JERRY GARCIA
Garcia (1972)  ∑
Almost Acoustic (1988)  ∑
Reflections (1976)  ∑
Compliments (1974)  ∑
How Sweet It Is (1990-97) 
Howard Wales & Jerry Garcia Live
(Side Trips, Vol. 1) 
#4022 Old & In The Way (1974) 
#4123 Garcia/Grisman (1992)  ∑
#4134 Not For Kids Only
(w/ David Grisman)  ∑
#4147 Jerry Garcia Band Live (1991) 
#4148 Cats Under the Stars (1978) 
#4175 Run for the Roses (1982) 
#3907 That High Lonesome Sound
(1973/96)  ∑
#4153 Shady Grove (w/ David Grisman) 
#4186 Breakdown
(1974) Old and In the Way 
#4192 So What (w/ David Grisman) 
#4211 Live at the Keystone Vol. 1
Jerry Garcia/Merl Saunders/
John Kahn/Bill Vitt 
#4212 Live at the Keystone Vol. 2
Jerry Garcia/Merl Saunders/
John Kahn/Bill Vitt 
#4213 Keystone Encores
Jerry Garcia/Merl Saunders/
John Kahn/Bill Vitt 
#4217 The Pizza Tapes
(Garcia/Grisman/Rice) 
#4003
#4005
#4008
#4009
#4051
#4061
CD
CASS
$15.00
$15.00
$15.00
$15.00
$15.00
$ 7.00
$ 7.00
$ 7.00
$ 7.00
N/A
$15.00
$15.00
$15.00
N/A
N/A
$ 9.00
$15.00
$19.00
$15.00
$15.00
$ 9.00
N/A
N/A
N/A
$15.00
$18.00
$ 9.00
N/A
Ace (1972)  ∑
Kingfish (1975)  ∑
Weir & Wasserman (1988/97) 
Heaven Help the Fool (1978) 
Bobby & the Midnites (1981) 
Rolling Thunder (1972)  ∑
Mystery Box (1996)  ∑
Supralingua (1998) 
Spirit Into Sound 
$15.00
$15.00
N/A
N/A
$15.00
$15.00
N/A
N/A
$15.00
$15.00
N/A
N/A
$15.00
$15.00
$15.00
$15.00
$15.00
$ 7.00
$ 7.00
N/A
N/A
N/A
$15.00
$15.00
$15.00
$15.00
$ 7.00
$ 9.00
N/A
N/A
$19.00
N/A
$15.00
N/A
$15.00
N/A
THE OTHER ONES
#4062 The Strange Remain 
$19.00
N/A
MOTHER McCREES
#4064 Mother McCrees
Uptown Jug Champions 
$15.00
N/A
$15.00
N/A
$15.00
$ 9.00
$ 9.00
N/A
N/A
$11.00
ROBERT HUNTER
#4114
#4122
#4125
#4136
Tiger Rose  ∑
Tales Of The Great Rum Runners ∑
Box Of Rain 
Duino Elegies/
Sonnets To Orpheus ∑
The Way It Is 
Scenes From the Southside 
A Night on the Town 
Harbor Lights 
Hot House 
Spirit Trail 
#3902 Nightfood
(w/Bob Weir, J. Pastorius)  ∑
$15.00
$ 9.00
#3901 Blues from Rainforest
(w/Jerry Garcia) 
#4150 Fire Up Plus 
#4185 Keepers 
$15.00
$15.00
$15.00
N/A
N/A
N/A
#4154
#4187
Dose Hermanos 
Live From California 
#4189 Limited Edition 
#4190 Keeper of the Key 
#4207 Visions Under the Moon 
#4210 Rendezvous With The Sun 
#4209 The Monk In The Mansion 
$15.00
N/A
$13.00
$13.00
N/A
N/A
$15.00
$15.00
$15.00
N/A
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N/A
$17.00
$16.00
$16.00
$16.00
$16.00
$20.00
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$15.00
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$16.00
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$15.00
$15.00
$16.00
N/A
N/A
N/A
$16.00
N/A
Music To Be Born By  ∑
Dafos
(w/Airto & Flora Purim)  ∑
Planet Drum  ∑
At the Edge  ∑
$15.00
$9.00
$15.00
$15.00
$15.00
$9.00
$9.00
$9.00
$15.00
$9.00
$15.00
$9.00
$15.00
$9.00
$15.00
$15.00
$9.00
$9.00
$15.00
$9.00
$15.00
$9.00
$15.00
$17.00
$9.00
N/A
RHYTHM DEVILS
Apocalypse Now Sessions  ∑
DIGA RHYTHM BAND
#4106 Diga  ∑
#4109 Sarangi: The Music Of India  ∑
BABATUNDE OLATUNJI
#4111
#4118
$15.00
N/A
N/A
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$15.00
$ 7.00
$ 9.00
$15.00
$15.00
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$15.00
$15.00
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$16.00
$15.00
$ 9.00
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$15.00
$16.00
$15.00
$15.00
$17.00
N/A
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N/A
N/A
N/A
$15.00
$16.00
N/A
N/A
The Traveling Jewish Wedding  ∑
GYUTO MONKS
#4119 Freedom Chants  ∑
#4105 Tibetan Tantric Choir 
Songs Of Amber ∑
N/A
$9.00
HARIPRASAD/ZAKIR HUSSAIN
#4124
Venu  ∑
You need no introduction to at least
half the members of Jemimah
Puddleduck. Guitarist/singer Mark Karan
just finished his second tour of duty with
The Other Ones, and by the time you
read this, he will be back on the road with
RatDog, in support of that band’s justreleased album. And John Molo has been
just about the hardest-working drummer
on Earth lately in a myriad of settings,
most recently Phil Lesh & Friends. Along
with keyboardist Arlen Schierbaum and
bassist/singer Bob Gross, they have
founded Jemimah Puddleduck, and are
making a mark in the burgeoning
“jamband” scene.
Jemimah Puddleduck (the name comes
from a character created by Peter Rabbit
author Beatrix Potter) got its start as a
kind of happy accident. A “Mark Karan
and Friends” unit, assembled as a one-off
opening act for a Merl Saunders show in
Southern California, resulted in a quartet
that was so much fun that nobody wanted
to give it up after a single gig, and a band
was born. More than a year later, they’re
still at it, whenever the players’ insanely
busy schedules will allow. The first
Jemimah Puddleduck album, culled from
three live performances, captures the
band in fine jamming form. Molo and
Gross lay down a rock-solid foundation,
and Karan and Schierbaum (who gets
some otherworldly sounds out of his oldschool analog keyboards run through
various guitar effects pedals) take things
out into The Zone on three Mark Karan
originals and covers of tunes by Smokey
Robinson, Johnny Guitar Watson, Gram
Parsons and others.
DOn’t Lok Back c U Can Stay, But Th’ NOize
Mus’ GO c ROck YOur Papa c Memphis RadiO c
Time Will Tell c My Car Is SO Grovy c Bait The
Hok c She c Annie DOn’t Lie
$16.00
$15.00
$9.00
$15.00
$15.00
$15.00
$15.00
$15.00
$25.00
$9.00
N/A
N/A
N/A
N/A
N/A
$15.00
$9.00
$15.00
$15.00
$16.00
$16.00
$9.00
$9.00
N/A
N/A
$15.00
$9.00
VARIOUS ARTISTS
#4110
Music Of Upper
And Lower Egypt  ∑
#4179 American Warriors 
#4184 UTOM: Summoning the Spirit 
#4182 Discoteca Collection 
#4183 L.H. Correa de Azevedo 
#4206 The Bali Sessions 
GREAT LAKES INDIANS
#4128
Honor the Earth Pow Wow  ∑
ENDANGERED MUSIC PROJECT
#4129
#4138
#4197
#4196
The Spirit Cries  ∑
Music For The Gods  ∑
Arthur S. Alberts Creation 
The Yoruba/Dahomean Collection 
AIRTO
#4130 The Other Side of This  ∑
THE KULULI PEOPLE OF PAPUA NEW GUINEA
LEGEND:  = NUMBER OF CDS
MOre New Music
#4223 Jemimah Puddleduck
DZINTARS (LATVIAN WOMEN’S CHOIR)
#4121
$15.00
Eclipse  ∑
GOLDEN GATE GYPSY ORCHESTRA
#4113
$17.00
$17.00
Drums Of Passion/
The Invocation  ∑
Drums Of Passion/The Beat  ∑
HAMZA EL-DIN
#4112
Friends & assOciates
#3903 Watchfire Pete Sears  ∑
#3906 The Music Never Stopped—
Roots of the Grateful Dead  ∑
#4057 Another Stoney Evening
Crosby/Nash 
#4059 Sons of Champlin-Live 
#4060 The Heart of Gold Band 
#4063 Allman Bros 2-11/12-70 
#4065 Sons of the Golden West
Flying Burrito Brothers 
#4067 Sing Out for Seva 
#4142 Blue Incantation
Sanjay Mishra with Jerry Garcia  ∑
#4144 Dark Star David Murray Octet 
#4146 Furthur Fest CD (1996) 
#4151 Second Sight
Bralove, Welnick, Kaiser 
#4166 Common Chord 
#4176 Furthur More (1997) 
#4177 Donna Jean 
#4180 Zero 
#4181 Pickin’ on the Dead
Bluegrass tribute to GD 
#4193 In the Long Run Dave Ellis 
$16.00
USTAD SULTAN KHAN
Jazz is dead
Jazz is Dead 
Laughing Water 
#4117
#4115
#4116
hOt tuna
#4188
#4214
CASS
MICKEY HART
#4132
#4133
ROB WASSERMAN
Trios (w/Jerry Garcia,
Bob Weir, Edie Brickell,
Neil Young, Brian Wilson) 
#4204 More Oar
Tribute to Skip Spence 
#4205 Fish, Tree, Water Blues
Compilation to aid
Earthjustice Defense Fund 
#4208 Sundown on the Forest Kingfish 
#4215 A Tribute to Jerry Garcia
Jonathan McEuen & Phil Salazar with
all-star bluegrass tribute to Jerry 
#4216 Modereko John Molo 
#4218 Little Feat-Chinese Work Songs 
#4220 Dead Grass
(featuring Vassar Clements) 
CD
THE WORLD
MERL SAUNDERS
∑= NUMBER OF CASSETTES
BRUCE HORNSBY
#4198
#4199
#4200
#4201
#4202
#4203
$ 7.00
BRIAN MELVIN’S NIGHTFOOD
#4068 And Furthurmore… 
VINCE WELNICK
#4058 Missing Man Formation 
$15.00
hOward wales
BILL KREUTZMANN
#4056 Backbone 
#4012 Pistol Packin’ Mama (1976)
(An all-star bluegrass session,
produced by Jerry Garcia)  ∑
DAVID NELSON BAND
PHIL LESH
#4401 Love Will See You Through 
N/A
TOM CONSTANTEN & BOB BRALOVE
MICKEY HART
#4011
#4143
#4191
#4071
$15.00
GOOD OLD BOYS
#4137
BOB WEIR
#4004
#4010
#4053
#4173
#4174
#3904 He’s All I Need (1992) 
friends & assOciates, cOnt.
#4131
Voices of the Rain Forest  ∑
$15.00
$9.00
$10.00
N/A
AROUND THE WORLD SAMPLER
#4127
Around The World (For A Song) 
“…play on.”
musiC
The 2000 Furthur Festival may be over,
but you can take a little bit home with you
with this CD, the third in a series of
commemorative compilations. Included are
several never-before-released tracks,
including two live ones (“Ramble On Rose”
and “Easy Answers”) by the 1998 edition of
The Other Ones, and a lovely version of
“Loser” by Bruce Hornsby and his band.
Ziggy Marley and the Melody Makers are
heard in both live and studio tracks, and
new Other Ones member Alphonso
Johnson is represented by a Jazz Is Dead
selection. As a special bonus, there is also a
long-unavailable performance by legendary
Bay Area singer-songwriter Paul Pena,
featuring Jerry Garcia on pedal steel guitar.
the Other Ones
#4221 Furthur Most
Ramble On ROse (The Other Ones) c Beautiful Day
(Ziggy Marley and The Melody Makers) c LOser (Bruce
Hornsby) c Easy Answers (The Other Ones) c
Natural Mystic (Ziggy Marley and The Melody Makers)
c Eyes Of The WOrld & TwO Sisters (Jazz Is Dead) c
Venutian Lady (Paul Pena, featuring Jerry Garcia)
$15.00
9
T H e Fa m i ly D O G
P O st e r s
Every year brings new (and new old)
delights to adorn your walls. We’re
pleased to offer the stunning signed
Mickey Hart Band Poster by Gary
Houston, a pefect complement to
Gary’s outstanding Robert Hunter
poster. And what would the end of
summer be without a new Michael
Everett poster? The Other Ones/
Furthur continues in this fine annual
tradition. As for something older,
look no further than the New Year’s
Eve Father Time, with none other
than Bill Graham dressed as the
proverbial old timekeeper. And
finally, we have many, many more
posters. Please visit our web site or
call to check on availability.
Mickey
16.375" x 25"
#8120 Father Time NYE 1988
designed by Arlene Owseichik
(13" x 19 1⁄2") $125.00
#8119 Mickey Hart Band Poster
Gary Houston 1st printing
(16 1 ⁄2" x 25") $35.00
#8121
Other Ones/Furthur 2000 Poster
Michael Everett (16 1 ⁄4" x 22 1 ⁄2")
$20.00
#8078 Terrapin Limited Lithograph
Stanley Mouse 1st printing
(17" x 25") $49.00
#8037 Euro/Egypt Tour 1978 Alton Kelly (30" x 20") $275.00
#8027 1987 New Year’s Eve
Hugh Brown (19" x 27 1 ⁄2") $30.00
#8093 RAN/Other Ones Poster
1st printing (13" x 19") $20.00
#8086 Unsigned Garcia Commemorative Serigraph
Joseph DiVincenzo 1st printing (34" x 251 ⁄4 ") numbered $125.00
#8089 Robert Hunter Poster
Gary Houston 1st printing
(16 1 ⁄4" x 25") $50.00
#8065 Art of the Dead 1996
Mustafa Muwwakkil 1st printing
(111 ⁄2" x 19 1⁄ 2") $20.00
#8046r 1995 Summer Tour Poster
Everett (18" x 27 1 ⁄4") REPRINT $50.00
#8116 New Year’s Eve ’99–’00
Timothy Truman 1st printing
(13" x 19") $20.00
It’s probably impossible to overstate
the effects on mainstream graphic
arts of the rock poster movement
in the 60s. It was truly a golden
age and many (if not all) of the
pieces continue to retain their
vibrant modernity. In a remarkable
artistic confluence, some of the
best artists were given complete
freedom in designing posters for
the Family Dog shows, and
responded by creating a body of
work unique in both its references
and homage to the history of
graphic arts, its visual spontaniety,
and an iconclasm and utter rending
of tradition. The posters would
leave behind an indelible imprint,
often outliving artistically many
of the very bands they promoted.
Hayfever FD010-2
Wes Wilson 2nd printing
#8033 (141⁄4" x 20 1⁄4") $150.00
Quick and the Dead FD012-2
Wes Wilson 2nd printing
#8032 (141⁄4" x 20 1⁄4") $200.00
Big Brother 1966 FD030-3
Mouse/Kelley 3 rd printing
#8124 (14" x 20") $100.00
Family Dog Logo FD033-3
Mouse/Kelley 3 rd printing
#8031 (141⁄4" x 20 1⁄4") $250.00
In an effort to help provide a
rounded appreciation of the more
general milieu and history of the
early days of the Grateful Dead, we
thought it would be interesting to
make available to our readers
some of the best examples of this
Golden Age. Although many of the
offerings are not specific to the
Grateful Dead, they are certainly
synonymous with the Dead, and
some day the work of Mouse,
Kelley, Griffin, Wilson and Moscoso
will take their rightful place in
museums around the world. For
right now, however, they can take a
rightful place in your permanent
collection.
Country Joe Ship FD041-2
Mouse/Kelley 2nd printing
#8125 (14" x 20") $150.00
Water Bearer FD044
Victor Moscoso vintage printing
#8131 (14" x 20") $35.00
Dance of the 5 Moons FD046
Victor Moscoso vintage printing
#8132 (14" x 20") $50.00
Big Brother and Blue Cheer 1967
FD055-1 Victor Moscoso 1st printing
#8126 (14" x 20") $50.00
Moby Grape FD049-1
Victor Moscoso 1 st printing
#8133 (14" x 20") $35.00
Peakcock Ball FD051-2
Victor Moscoso 2nd printing
#8134 (14" x 20") $50.00
Angel/Steve Miller Band FD078-2
Mouse/Kelley 2nd printing
#8135 (14" x 20") $100.00
Skull Teeth FD082
Nolan vintage printing
#8136 (14" x 20") $175.00
Stone Facade FD011-2
Victor Moscoso 2nd printing
#8137 (14" x 20") $35.00
Sutter’s Mill FD062-1
1st printing
Rick Griffin
#8127 (20" x 14")
$100.00
#8056 Ship of the Sun Kelley/Greene 1st printing (30" x 15") $15.00
#8057 Ship of the Sun Artist’s Proof 1st printing (34" x 25") $100.00
Sitting Pretty/Blue Cheer FD099-2 B Schneph/T.Weir 2nd printing
#8143 (28" x 11") $100.00
#8052 Grand Rapids
Jim Carrico 2nd printing
(14" x 27 1 ⁄4") $25.00
#8063 Krishna Consciousness
Artist Unknown 1st printing
(13" x 20") $300.00
Quicksilver Comic Strip FD089
Rick Griffin vintage printing
#8138 (14" x 21") $250.00
#8064 Hill Auditorium
Gary Grimshaw 1st printing
(19 1 ⁄2" x 25 1 ⁄2") $225.00
Quicksilver Dance FD096-1
Rick Griffin 1st printing
#8139 (11 1⁄4" x 20 1⁄2") $150.00
QMS-Eternal Reservoir FD101
Rick Griffin vintaget printing
#8128 (14" x 20") $250.00
Denver Opening
FD079-1 1st printing
Rick Griffin
#8142 (20" x 14")
$200.00
#8100 Trip or Freak Signed Poster
Kelley/Mouse/Griffin REPRINT
(19 1⁄2" x 351⁄2") $175.00
#8101 Trip or Freak Artist’s Proof
(221⁄2" x 38 1⁄2") $400.00
10
#8039b Mardi Gras 1995
Troy Alders 2nd printing
(12" x 27 1⁄4") $35.00
#8096 Dead/Fillmore BG41-2
Wes Wilson 2nd printing
(14" x 22") $150.00
#8095 Airplane/Dead BG17-3
Wes Wilson 3rd printing
(14" x 20") $125.00
#8097 Airplane/Dead BG23-3
Wes Wilson 3rd printing
(14" x 201⁄2") $125.00
Santana Blues Band FD119-1
William Henry 1st printing
#8140 (14" x 20") $175.00
Red Bull FD013-2
Stanley Mouse 2nd printing
#8141 (14" x 20") $35.00
#8123 Set of 4
Avalon Ballroom Handbills
Victor Moscoso
(each 5" x 7") $50.00
11
DON’T LET THE OXFORD
UNIVERSITY PRESS IMPRIMATUR
FOOL YOU…this book is every bit
NOT FOR KIDS ONLY REDUX
A follow-up to the delightful Ain’t
No Bugs on Me, this is another
charming collaboration between
Jerry Garcia and David Grisman,
sure to captivate children and
adults alike. Stylish illustrations
by Bruce Whatley perfectly
complement the included tape of
Garcia and Grisman performing.
as entertaining as it is erudite. The
Grateful Dead Reader is a collection
of the best of the best: chronological
essays spanning 30 years of glorious
history, by eyewitnesses, participants,
critics, historians, and just plain
Deadheads. And if you’ve never quite
been able to put your experiences into
words, you’ll whoop with joy as Ed
McClanahan describes a show to a T.
front
BoKS
back ▼
front
back ▼
#8118
2001 Thirteen-Month
Calendar $14.00
#5138 What Will You Wear
Jenny Jenkins? $15.95
#5135 The Grateful Dead Reader $25.00
FOR THE IVORY TOWER CROWD…
Perspectives on the Grateful Dead is
the ne plus ultra of academic Dead
writings. A part of the Contributions
to the Study of Music and Dance
MAGNUS OPUS, THE FINAL CHAPTER
series, this esoteric volume will
undoubtedly be at the core of
university studies for years to come.
Don’t miss “Deadhead Tales of the
Supernatural: A Folkloristic Analysis.”
#5109
JERRY GARCIA
Harrington Street
The African Rainforest
#5110
#5134
$22.95
$30.00
$39.50
$16.95
$29.00
$18.95
$17.00
$6.00
$15.00
$19.50
JERRY GARCIA ART!
$49.95
$12.95
Anthology Songbook Box Set
Garcia Songbook
$16.00
$20.00
#1327 Lovelight Tie-Dye T-Shirt
M, L, XL $24.00 XXL $26.00
Guide To GD Songlists, 1965-1994. A must for all
Deadheads, Tapers and Statistics Freaks!
#5003
#5004
#5009
#5062
#5016
#1358 Celtic Mandala Tie-Dye T-Shirt
L, XL $24.00 XXL $26.00
#1355 GD Band T-Shirt
XXL $22.00
M, L, XL $20.00
#1311 “Batik” Terrapin T-Shirt
XXL $22.00
M, L, XL $20.00
Official Book Of The Deadheads
$15.95
$16.95
Alleys Of The Heart (Robert Petersen)
The Water Of Life —a tale of the Grateful Dead $13.00
Infinity Minus Eleven (Robert Hunter)
$9.00
Dead Days—Multi-Purpose Datebook (H. Greene)
$19.95
Between Rock And Hard Places (Tom Constanten) $17.00
Entertaining memoirs by former GD keyboardist
#5017
Playing In The Band (David Gans)
An Oral and Visual Portrait of the Grateful Dead
$15.00
Skeleton Key: A Dictionary For Deadheads
$14.95
(David Shenk/Steve Silberman)
$6.95
Dog Moon —
New poetry edition
#5133HC Deadbase XI (hardcover)
#5133SC Deadbase XI (softcover)
#5113
The Grateful Dead and the Deadheads
$45.00
$36.00
$75.00
#3145 SYF Fleece
Pullover
S, M, L, XL $75.00
(hardcover only)
SONGBOOKS
Built To Last Songbook
GD Songbook Vol. 1
$15.00
$20.00
Songs from Workingman’s Dead and American Beauty
GD Songbook Vol. 2
$18.95
Songs From Wake Of The Flood, Mars Hotel, Blues For Allah
Grateful Dead Anthology Songbook
#5106
Grateful Dead Guitar Classics Vol. 1
#5107
#5108
Grateful Dead Guitar Classics Vol. 2
100 Year Hall Songbook
$24.95
Learn ten popular songs: includes complete solos.
$24.95
$21.95
“Next Time You See Me,” “Big Railroad Blues,” “Jack Straw,”
“Turn On Your Lovelight,” “The Other One (Cryptical Envelopment),”
and “Comes A Time” all of which are transcribed from this album.
VIDEOS
#5114
#5115
The American Book of the Dead (softcover)
Dead Head Taping Compendium
$16.00
$29.95
Vol. 1 (1959-1974)
#5116
#5123
Access All Areas (Tim Harris’ Laminate Art)
Access All Areas
#2425 Lightning Rose
Fleece Hat
$18.00
$22.95
$85.00
(As above with hard case & signed. Limited Edition.)
$24.95
A comprehensive collection of songs for piano and guitar.
#5119HC
#5119SC
#5121
#5122
Art of the Fillmore (hard cover)
Art of the Fillmore (soft cover)
There Ain’t No Bugs on Me (book & cassette)
Dead Head Taping Compendium
#3112 SYF Denim Shirt
M, L, XL $39.50 XXL $42.50
$40.00
$30.00
$15.95
$32.50
#5130HC Live at the Fillmore East (hard cover)
#8022 GD 25th Anniversary Tour Program
#5015VHS Ticket to New Year
$30.00
(Legendary 1987 show at the Oakland Coliseum)
#5015DVD Ticket to New Year
#5015LD Ticket to New Year Laser Disc
$39.95
(Same as above, but on high definition Laser Disc)
$19.95
$74.95
Boxed collection of Ticket to New Years,
Dead Ahead and GD Movie
#5059VHS Dead Ahead (115 min)
$25.00
Reissued classic from 1980 Radio City Music Hall shows
#5068VHS Down Hill From Here (150 min.)
$30.00
Classic performance from Alpine Valley show of July 1989.
#5068DVD Down Hill From Here
$30.00
(same as above on DVD)
#5068LD Down Hill From Here (150 min.)
$39.95
Same as above but on high definition Laser Disc.
#5001VHS The Grateful Dead Movie (131 min)
$35.00
1974 Concert
#5014VHS Backstage Pass (35 min)
Concert footage spanning 20 years (1964-1984)
#5058VHS Timeless Voices Gyuto Monks
$18.00
$15.00
(1989 performance at New York’s Cathedral
of St. John the Divine.)
#5069VHs Anthem to Beauty Set
Time to prepare with the warmest,
cushiest clothes around. Our
venerable SYF Denim shirt returns
with an updated look and smooth
feel. And we dare you to even
sense a chill wrapped up snug in
our new Polartec™, non-pill tweed
SYF Fleece Pullover. Top off
your noggin with the Lightning
Rose Fleece Hat also in
Polartec.
$39.50
SYF Overnight Bag by Kelty.™
Measures 22" long x 12" in
diameter, with zippered pockets
at both ends, in front, and inside.
Comes with embossed leather
SYF luggage Tag.
#2432
SYF Overnight Bag
with Leather
SYF Luggage Tag
$89.50
JERRY GARCIA ART!
#2423 Little Fish
Silk Tie $29.50
(American Beauty & Anthem to the Sun CD’s and VHS)
#5070VHS Anthem to Beauty (75 minutes)
(Story of the African Rainforest by Bob Weir
and Wendy Weir)
#5056VHS The Concerts
$30.00
1987 Stunning Performance Footage
$30.00
#5067VHS Panther Dream
$40.00
$8.00
#5005VHS So Far (55 min)
WINTER QUICKLY APPROACHES
TRAVEL IN STYLE with our new
Vol. 2 (1975-1985)
(same as above on DVD)
12
#2422 Dawn at the Ritz
Silk Tie $29.50
$15.00
#5011SC Book of the Dead
#5038 DeadBase Jr.
#5035
Robert Hunter/Tim Truman collaboration
#5105
front
(Alan Trist) New paperback edition
Box Of Rain — Collected lyrics in paperback
Night Cadre — Poems (Robert Hunter)
Idiot’s Delight — Poems (Robert Hunter)
Sentinel — Poems (Robert Hunter)
Duino Elegies/The Sonnets To Orpheus
(Rainer Maria Rilke) Translated by Robert Hunter.
#5102
back ▼
$24.95
Grateful Dead Anthology II
#5008SC Grateful Dead Family Album
ROBERT HUNTER
#5100
#5101
front
#1362 Other Ones Calendar 2000 T-Shirt
L, XL $20.00 XXL $22.00
GENERAL LIBRARY
MICKEY HART
#5111
back ▼
S, M, L, XL $20.00
Compelling collection of candid photos and lore.
#5117SC Drumming at the Edge of Magic (Mickey Hart)
#5118SC Planet Drum (Mickey Hart) Soft Cover
#5120HC Spirit Into Sound (Mickey Hart) Hard Cover
#5120SC Spirit Into Sound (Mickey Hart) Soft Cover
#5076Set Spirit Into Sound (Mickey Hart) Book & CD Set
#5063
NEW T-SHIRTS, TIES & OUTERWEAR
#1364 Bridge Trip Outfitters T-Shirt
Distressed printing makes new shirt
look like an old favorite!
$28.00
Software coloring book companion to Panther Dreams
by Bob and Wendy Weir. For IBM compatible computers.
#5049
#5024
#5034
#5046
#5048
XXL $22.00
Includes never-before-released songs.
$15.00
BOB & WENDY WEIR
#5055
M, L, XL $20.00
#5137 The Deadhead’s Taping Compendium
Volume 3 $35.00
#5136 Perspectives on the
Grateful Dead $59.95
#5060
#1363 Other Ones Athletic 2000 T-Shirt
L, XL $18.00 XXL $20.00
The much-anticipated final volume of the
Taping Compendium is a more-than-worthy
successor to the first two volumes. Filled with
complete listings as well as lively anecdotes,
these three volumes will serve as the Taper’s
Companion par excellence for years to come.
#1359 GD Trucking Company T-Shirt
Distressed printing makes new shirt
look like an old favorite!
$20.00
Documents the making of Anthem of the Sun
and American Beauty.
#5070DVD Anthem to Beauty DVD
#5071DVD Indoscrub DVD single (Mickey Hart)
#5072DVD Shadow of the Invisible Man
$25.00
$8.00
$25.00
(Dose Hermanos)
#5074VHS Electric Hot Tuna Video
#5075VHS High Adventures in Japan
$25.00
$15.00
(David Nelson Band)
#5077VHS View from the Vault VHS
$19.50
(7.8.90 concert performance)
#5077DVD View from the Vault DVD
$24.50
#3137 Denim or Spruce
SYF Crushed Cotton
Pullover
Please specify color
when ordering
M, L, XL $49.50
XXL $52.50
(7.8.90 concert performance)
#5077PAL View from the Vault PAL
$19.50
#3141 GD Black Wool Jacket
S, M, L, XL $175 XXL $185
DANCING BEAR
#2424 Third Set
Silk Tie $29.50
13
kiD StuFf
A d u lt S t u F f
NEW STAINLESS STEEL
banded watches with inset
SYF in Men’s and Women’s
styles. Precision quartz
movement. Made in Japan.
#2420MN Men’s SYF Stainless
Steel Watch $125.00
#2420WN Women’s SYF
Stainless Steel Watch $125.00
#3260 Sunny Bear Romper
18-24 mos $15.00
#3259 Tie Dye Union Suit
18 mos $22.50
THE SWISS ARMY MEETS SYF in this
robust and handsome pocket watch.
Legendary Victorinox reliability in stunning
Dead style. Comes with metal presentation
and storage case.
#3257 Mountain Bear
Onesie 12-18 mos $18.00
#2421 SYF/Swiss Army Pack Watch
$95.00
BIG CITY, BRIGHT LIGHTS, CORRECT TIME
#2426 NEW Rainbow
Bear Tattoo Mix $3.50
OVERCOME THE MORNING BLAHS
New SYF Neon clock has battery-operated clock
mechanism with a 8 1⁄2 " face surrounded by a circular
blue neon tube for nightime illumination. 12" in
diameter overall.
New Terrapin Music
Globe stands 5" tall and
plays old favorite amidst
shower of confetti.
with our new SYF Tie-Dye Mug. If this
won’t wake you up, nothing will!
#2419 SYF Tie Dye Mug $9.00
#2437 SYF Neon Clock $95.00
KEY WRANGLING 101
Keep track with our Silver Bolt Keychain.
#2418 Silver Bolt Keychain $10.00
#2435 Terrapin Music
Globe $45.00
NEW SYF COASTERS are made from
#2412TP Terrapin Beanie
$10.00
the remarkable Thirstystone®. Quarried
from sandstone, this “ultimate coaster”
gladly soaks up condensation quick as a
wink. Set of four.
#2412AK AIKO Beanie
$10.00
SNUGGLE UP FOR WINTER in our new
46" x 67" robust cotton throw.
#2434 SYF Coasters (4) $20.00
#2436 SYF/Bear Cotton Throw
#3227 Moondance Onesie
18-24 mos $15.00
H O L I DAY
#3229 Moondance T-shirt
S, M, L $15.00
#2405 Original Deadhead
Tattoo Mix $3.50
#2404 Large, 25" SYF
Wind Chimes. $50.00
$55.00
#2336-2 SYF
Clear 16 oz. Coolers
(set of 2) $19.50
#2388 Women’s
Hemp SYF socks
WO 9-11 $15.00
#2336-4 SYF
Clear 16 oz. Coolers
(set of 4) $35.00
#2388 Men’s Hemp SYF
socks MN 10-13 $15.00
#2138
Sunshine
Daydream Kelty
Back Pack
$50.00
#2295 4" Skull ‘n’ Roses
Glass Ornament $20.00
#3222 Santa Bear Onesie
12 mos $12.00
#3222 Santa Bear Onesie
24 mos $12.00
GORGEOUS 5" CUP AND
MATCHING SAUCER
#2427 Bears Cup
and Saucer $25.00
#2208 Bears Cotton Throw
Large 46" x 67" $55.00
ADORABLE NEW SYF TIN TOTE is
just the thing for that all-important
first day at a new school (or new job!).
Measures 6" wide x 5 1⁄2 " tall.
#2433 SYF Tin Tote $12.50
Welcome to the Parking lot, that
special corner of the Almanac
for items not quite Grateful Dead,
but worthy of your attention
nonetheless.
#2384 Skull ‘n’ Roses
Stained Glass $32.50
#2294 3" SYF Glass
Ornament $20.00
#2430 Rainbow Spiral
Tie-Dye Beach Towel
38" x 60" $35.00
by night
by day
#2293 5" Dancing Bear
Glass Ornament $20.00
#2431 Hippies Magnet
$4.50
#2429 Rainbow
Tie-Dye Tie $29.50
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New Brass and Stained
Glass tortoise lamp is every
bit as attractive at night as
it is during the day. Easily
replaceable 25 watt light
bulb and cord with switch.
#2428 Stained Glass Turtle
Lamp $49.50
#2334 Terrapin Station
Cotton Throw
53" x 65" $55.00
#2404 Small, 16" SYF Wind
Chimes. $30.00
ORDER BY PHONE by calling toll free 1-800-225-3323. Have your Visa, Discover or
MasterCard ready.
ORDER BY FAX by sending a complete order, along with name, address, phone # and
credit card info, to 1-415-884-0585.
ORDER ON-LINE @ HTTP://WWW.MARS.DEAD.NET
ORDER BY MAIL by sending a complete order form, with your personal check, money
order or credit card info. We now use Tele Check services. Approved check orders are
no longer held and ship immediately.
EXPRESS DELIVERY (continental U.S. only; no P.O. boxes): On-line and phone orders
can order Top Priority for $13 (2-3 business days following day of order), or Second
Priority for $8.00 (3-5 business days following day of order). These are additional
shipping charges.
#2332 Tie-Dye Socks
Rainbow or Purple
WO 9–11 Mn 10–3 $10.00
Please specify when ordering
#2209 Bears Cotton Throw
Small 50" x 50" $42.00
STANDARD DELIVERY FOR U.S. and CANADA
Value of Order
Shipping & Handling
$0 – $20.00
$3.50
$20.01 – $30.00
$5.00
$30.01 – $40.00
$6.00
$40.01 – $60.00
$7.00
$60.01 – $80.00
$8.00
$80.01 – and up
$9.00
For standard delivery of all orders, please allow 2-4 weeks. Please allow 6-8 weeks
for all international orders. Your credit card will be authorized before your order is
shipped.
For all international orders EXCEPT CANADA, please add an additional $6.00. An additional
freight charge will be billed to your credit card to cover actual international costs.
INQUIRIES: Call GDP Customer Service at 1-800-499-3998, 9:30-4:30, PST.
CHARGE BY PHONE: Call 1-800-225-3323 or Fax 415-884–0585
CHARGE TO MY: ❏ VISA
❏ MASTERCARD
ACCT. #
❏ DISCOVER ($10 MINIMUM)
EXP.
SIGNATURE
NAME
PHONE
ADDRESS
CITY
STATE/COUNTRY
ZIP CODE
❏ PLEASE CHECK HERE IF THIS IS A NEW ADDRESS
ITEM NUMBER
DESCRIPTION
Please make all checks and money orders,
payable in U.S. funds, to: GDP
Send orders to:
WA12
GDP
PO Box X
Novato, CA 94948
SIZE COLOR QTY.
X
PRICE. =
AMOUNT
MERCHANDISE TOTAL
SHIPPING & HANDLING
SUBTOTAL
California Residents add 7.25% Sales Tax
TOTAL AMOUNT
E X P R E S S D E L I V E R Y AVA I L A B L E ! TO P P R I O R I T Y– $ 1 3 . 0 0 . S E C O N D P R I O R I T Y– $ 8 . 0 0 C A L L 1 . 8 0 0 . 2 2 5 . 3 3 2 3
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